The Feltex-winning series Pioneer Women dramatised the lives of groundbreaking New Zealand women. This episode looks at the story of controversial safe-sex campaigner Ettie Rout. In World War I she travelled to Egypt to care for Kiwi soldiers; there she found venereal disease was rife, and recommended that prophylactic kits be issued and that brothels be inspected for hygiene. To the establishment her pioneering ideas on health, sex and gender were ‘immoral’ and received with hostility; while the RSA and some doctors considered her a “guardian angel of the ANZACs”.
A special episode which asks ten queer people from all over New Zealand about issues affecting their lives. Subjects include health, looking at HIV and safe sex; issues around homophobia, especially focusing on opposition to the Civil Union Bill (passed after this programme was made); the importance of family and relationships; bringing up children within gay relationships; and attitudes to gay marriage (or civil unions). It winds up with comments on how much more tolerant New Zealand society has become since homosexual law reform, in 1986.
Narrated by Hilary Barry and screening on 3 News, this series of short documentaries profiles New Zealanders involved in World War I. This episode looks at sexual health campaigner Ettie Rout, who was determined to tackle the high venereal disease rate amongst Kiwi soldiers. Her biographer Jane Tolerton tells of Rout advocating for prophylactic kits, and setting up a safe sex brothel in France. Rout attracted controversy and censorship, and was scorned by the establishment as immoral. But soldiers and doctors thanked her as the "guardian angel of the ANZACs".
This documentary about the sex industry in New Zealand features frank but sympathetic interviews with sex workers (including the Prostitutes Collective) and their clients. Topics discussed include the sex workers' reasons for doing the job, physical and sexual safety, the impact of AIDS, the role of drink and drug abuse, and managing a relationship with a husband or boyfriend. The film screened on TV3 after arguments about censorship, which Costa Botes writes about here. A Double Standard makes a compelling case for the industry to be decriminalised. Law change occurred in 2003.
MyStory was the first “mobisode” funded by NZ On Air. It tracks a group of young people in their ‘gap year’ between high school and university as they discover one of their friends has gone missing. The 40 x two-minute episodes screened on C4, and was able to be downloaded daily to 3G phones on the Vodafone network, or watched (as a weekly collection) on the C4 website on Sundays. Created by Gibson Group producer Bevin Linkhorn, the series was directed by Peter Salmon.
Clare O'Leary is a politically-motivated, award-winning documentary filmmaker. Her documentaries, made in Australia and New Zealand, aim to give a voice to those who are seldom heard.
Dan Musgrove loves playing bad guys and has managed to do so in shows such as Underbelly NZ – Land of the Long Green Cloud, Go Girls and Westside. When not being bad, he has acted in fantasy programmes (Legend of the Seeker), got a girl pregnant (Piece of My Heart), and climbed a mountain (Beyond the Edge).
Since the late 1980s Bryan Bruce has been a prolific documentary maker and presenter. Over more than 30 documentaries, plus three seasons of The Investigator, he has cast fresh eyes on some of the most famous crimes in New Zealand’s history, and asked tough questions about the country’s economic and social trajectory.
Yvonne Mackay is a prolific director of New Zealand television, whose work has often focused on the arts and projects made for young people. She made history as the director of The Silent One (1984), the first New Zealand feature film directed solely by a woman. These days Mackay runs Wellington company Production Shed TV.
After beginning her career as a television journalist, Amanda Robertshawe has gone on to direct acclaimed documentaries on challenging issues like addiction (The Dark Side of the Moon), confronting death from cancer (My Name is Jane) and sexual responsibility (Is There Anybody Out There?). Her films reflect a fascination with the emotional consequences of life experiences.